Well, we had a fun night recently, coming up with these noms for the most outstanding work in the Brisbane performing arts industry in 2014!

Celebrating more than 25 years of theatrical excellence in southeast Queensland, the awards have become a prestigious event on Brisbane’s arts calendar. Having added to the reputation of some of Australia’s best-established practitioners and companies, and many talented emerging artists, a Matilda Award remains a coveted honour. Not only is it a significant achievement in a professional artist’s individual career, it is also unique as the only official acknowledgment specifically for the work of local theatre practitioners.

The beauty of having ten judges is that, between us, we’ve have seen most productions (when five judges see a Queensland-made show it becomes eligible* for a Matilda Award) and we are able to argue politely and respectfully discuss the merits of each nominee. Between us we see almost everything.

If you’re an artist, producer or publicist, please continue to keep us informed. A Facebook event page invite is not going to make us mark your opening night in our calendars, but an emailed invitation will! Thank you to the companies and venue staff who send EARLY invites and remain flexible regarding dates (and our hot dates!), because quite often seasons overlap or clash completely and it’s difficult to schedule attendance around real life and work as well (and it’s useful to have somebody with us who is a) happy to share the long drive, and b) open to some frank discussion about the show).

*To be eligible, theatre workers have to have made, in the judges’ opinion, a commitment to the State, for example, by either beginning their careers or living and working mainly here, or by having a strong identification with Queensland. This means that interstate actors who come here for one production are not eligible, nor are touring productions that do not originate in Queensland.

See you at Gardens Theatre on Monday March 9 2015!

There are five premium Matilda Awards, represented by gold trophies. A Gold Matilda is awarded for outstanding work in any area of the professional theatre industry, which also includes independent productions. These awards may be for a single work in the preceding year or for a body of work.

In addition to the five Gold Matildas, there are 12 Silver Matilda Award categories:

STILL THE SEXIEST SHOW IN TOWN

The return of this highly anticipated production was too much for Sam to resist. Even with his 3:30am wake up, he wasn’t going to miss it! Our friend, Shae, didn’t miss the opportunity to come along either. Testament to the reputation of Emily Gilhome’sOscar Theatre Co, and the level of respect the company has earned by consistently presenting impressively staged works showcasing Brisbane’s top talent, EVERY SHOW SOLD OUT. AGAIN.

Gilhome knows better than anyone in Brisbane, how to make “sexy” sophisticated and fun, for everyone. It’s never tacky, and a lot of it is so luscious that you might wonder why you’re not already enjoying the benefits of both male and female friends. JUST SAYING. Gender and sexuality become irrelevant; we get the message that we are all equal. AND ALL SEXY. Also, the publicity shots are spot on (Photographer Joel Devereux), featuring barely clad beautiful boys and girls, clearly targeting anyone with blood running through their veins and fifty dollars in their pocket.

Sexy is sexy, regardless of who you are…or who you do.

boy&girl2 – Mercury Rising is a new version of the gender bending cabaret, which we saw in April last year in the Visy. I preferred the intimacy of that smaller space but for others it’s appropriately (much, MUCH!) bigger, and better than ever in the Powerhouse Theatre. BOOM BOOM! With the addition of a mesmerising aerial tissu act and a few subtle changes in the casting and running order, it’s a super sexy, slightly naughty show that could easily be enjoyed every week in the right venue…anyone?

This show is hot, hot, HOT with lots of laughs, svelte bodies and fine voices.

I love Oscar’s sass, but this is a large cast and some performers naturally bring more energy and vibrancy than others can muster. It’s a tight band (Daniel Robbins, Gene Stevens, Justin Bliss and MD Dale Lingwood). They’re settled on stage even when not involved in a musical number, and busy themselves taking iPhone photos of the audience. I don’t know why, when on stage there is THIS:

Thrilling, funny moments come when the performers move through the audience and leap onto cabaret tables to strike a suggestive pose. BRACE POSITION! There are some standout performances once again, including those by Aya Valentine, Garret Lyon, Josh Daveta and Chris Kellett, superbly unsubtle; his best form to date. We see the return of the Disney parody, Helga’s hilarious Avenue Q number (this is when Valentine shines), the rebirth of Beyonce (Lyon’s transformation from ensemble member to superstar), a tantalising tango, and Cell Block Tango from Chicago featuring the boys in the cast.

Choreography by Dan Venz is as impressive as ever; it’s slick, sharp and oh-so-sensual. The bigger numbers, including Cell Block Tango, lose none of their original impact in the much larger space, which looks fabulously shabby and dingy thanks to Falco Fox (Set Designer) and Jason Glenwright (Lighting Designer).

All of this and more (the all-girl boy band is a hit!) after a sassy opening number involving an ensemble strip, boldly led by Chloe Rose Taylor, out of cute flight attendant outfits to reveal strategically worn strips of elastic, straps, bodysuits, bodices and stockings. The suggestion that we are starting out with just a little bit of naughtiness is suddenly shattered! The Hellfire Club effect is achieved largely by allowing individual wardrobe choices, assembled and coordinated under the keen eye of Designer, Joel Devereux.

It’s my hope that she stays here – that we find a way to keep her here – but it goes without saying that Gilhome would not be out of place directing one of the country’s major cabaret festivals, the opening number for the Tony Awards, or Vivienne Westwood’s runway show. She deftly creates top entertainment, Brisbane’s best night out, every time she puts on a production. So it’s no surprise to see the audience lapping it up, almost desperate by the end of it for more, more MORE!

boy&girl2 – Mercury Rising is the sexy sensory overload you might not have realised you needed this year. What better way to begin it than with a bang and a BOOM BOOM?!

Trust Oscar to put on the sexiest show in town! Their girls are hot and their boys are hotter, regardless of your preferences. But what makes this show spectacular spectacular is a lot more than the eye candy – these kids can sing and dance y’all! And they always have done – you’ll remember Spring Awakening and Next To Normal – and this show, which evolved as the Lightspace Cabaret Series, is the next logical step, proving beyond a shadow of a doubt that Oscar is here to stay. And thank Adonis for that!

There’s a blatant message behind this show, and that’s SAME (SPECTACULAR SPECTACULAR) SAME. I hope to all the Greek Gods that you’re not still struggling with the notion of same-sex relationships (if you’re reading this blog, let’s face it, probs not!), but if you are, you sad, sad excuse for a human being, all the more reason to climb into an old sofa in the front row and HAVE YOUR MIND BLOWN!

While some are still insisting on trying to fit cabaret into a neat little box, Oscar goes beyond definition to create a gender-bending, mind-blowing phenomenon that you’ll experience and want to experience again, immediately. It’s not often we see something with the awesome, powerful, positive sexual energy to lift us out of our seats shouting, “Again! Again!” And look, no, it wasn’t just me. A packed house roared their appreciation at the end of the show, already having clapped and squealed throughout it in pure delight. Being able to bring drinks into the space is obviously essential to the atmosphere, but actually, during Interval, Adam and I lounged – literally – and chatted away, taking in the high-voltage vibe and wondering aloud, “Where does Emily FIND these performers?” Or do they find her?

In Chris Kellet we have an Emcee in true Cabaret tradition. To open with Wilkommen makes perfect sense, setting the ambience with ease (helped already, before we even begin by the band, led by MD Dale Lingwood and cast members strategically placed posed amongst the punters), and allowing us – especially those of us right under the, er, noses of the performers, admire an entirely new perspective on the number, choreographed by Dan Venz. The impact of the full company is felt at once, and not again until an extraordinary homage to West Side Story, ringing out that core message loud and clear, to bring the evening to a close. The voices are rich and full, befitting the well-loved score, and we are convinced. There is indeed a place for us, no matter who (or what) we are. In between, of course there is naughtiness! And some standout performances, including a gorgeous Andrew Sisters style arrangement of Call Me Maybe (Conor, Dakota & Dan), Conor Ensor’s touching Sandra Dee/There Are Worse Things I Could Do, Aya Valentine’s riotous take on My Girlfriend Who Lives In Canada, the expertly executed Cell Block Tango (all the boys), and Single Ladies (Garret, Adwan & Andy). Oscar’s very own Bath Girl seems an odd – but not – inclusion and I hope there’s another show for her (and her South Pacific cum Rubby Ducky parodying boy chorus); it’s as if this one couldn’t NOT go into the final mix, but there might be a better fit within a future vision. And there are moments of contemporary dance that almost take away from the vocalists’ work, but I let those moments slide because the dancers are good; precise and emotionally present, earning their place in the shared space. THIS TIME.

It’s with surprise and delight that I take on board the gender-bending vocals and physicality of the cast (who knew Rizzo could be such a sensitive guy?), and so it’s with some surprise also, that I realise later Bring on the Men is performed entirely by the girls, as per its original context from Jekyll and Hyde. And would that not have been an interesting piece for the boys to explore?

If for no other reason, you should probs see this show before we lose Venz to Vegas; surely that’s his destiny, or at least within his sights. Not only a hot, sharp mover and shaker, he’s choreographed the whole thing, beautifully lit by Jason Glenwright. Now THAT’S more like it, Mister! Light up those guys and dolls! Very clever, the way Ms Gilhome gets people together to create a little somethin’ somethin’…

This little somethin’ somethin’ is absolutely sizzling so see it before it sells out! Or… Perhaps it’s already too late and you will only have everybody else’s party stories to go by. That’s sad. For you. This fun fiasco finishes next weekend. Get on it, get a ticket and get to it!

Congratulations to Queensland Winner, Jessica Papst!

“The Cabaret Showcase has been growing year after year, but 2013 looks to be the most exciting yet. I have had the joy of being associated with it for many years and to see the progress of its winners – on TV, in musical theatre, with their award winning podcasts and sell-out international shows”.

On Saturday we arrived at Brisbane Powerhouse for Sam’s 4pm call. He and Australian Cabaret Showcase Winner of 2011, Angela Harding, had plenty of time to catch up and plan their approach to the gig, which was delightful and charming (Ang) and more than a little bit cheeky (Sam).

Sam takes the opportunity to sing for us his favourite number from The Pirate Show – Show Them To Me

The Queensland heat finalists were Julie Beard, Toni Zaffa, Adam Flower, James Halloran, Rachel Head, Bobbie-Jean Henning, Louise Kennedy, Steve MacKay, Dana Musil, Jessica Papst, Nicole Power, Belinda Raisin, Belinda Hanne-Reid & Marcus Skeggs. Each took their turn to sound check and then there was time to warm up (or grab a drink and a quick snack upstairs at Bar Alto. The mashed mint pea bruschetta is excellent, just so you know).

A capacity Visy audience enjoyed varied performances, and to tell the whole truth, among them were just a few that actually looked and sounded like “cabaret”. Sam and I have argued about this, but to me and to the Sydney judges – read below what Neil Litchfield reiterated after the Sydney heat via Stage Whispers – when you’ve got an 8-minute segment you need to do a little more than sing a couple of your best audition pieces.

Offerings where patter simply strings together a couple of showtunes of choice don’t cut the mustard any more.

Scaled back from the previous competition format which included multiple Sydney heats, the performance standard was impressive throughout, and it was probably the quality of concept, writing skills, or a directorial hand kicking in which made the difference – that, and the ability to adeptly distill the essence of a longer show into the time constraint, ahead of the dreaded bell.

Given just eight minutes each, it’s about enough time for two contrasting songs to display vocal and dramatic range, top notes, etc., tightly selected linking patter from those fully developed scripts, and that was the most common approach, though effectively others pluck multiple grabs which display the facets of their talents and offer a broad picture of the longer version…

Audience choice Ben Hudson’s instagram inspired piece, along with judges’ selections Monique Salle (and her Italian cousin), Melody Beck’s tribute to Marnie Nixon, hilarious self-accompanied comedian Sarah Gaul with her own outstanding comic song and Brendan Hay, blending comedy with a heartwrenching version of a Broadway standard, as the son of Cruella de Vil, go through to the Grand Final on January 17, at The Basement in Sydney.

Typecasting, a torchy seductress, Shakespeare on Broadway in 2014, Nuts, self-accompanied stories of a cruise ship piano bar performer or the archetypal cabaret theme of love gone wrong also featured in a night of diverse choices and storytelling.

Well, what IS cabaret? Historically, the genre has taken on many different guises, including acts as diverse as burlesque, comedy, variety and performance art, but as Sam and I discussed at the end of the night with Your Theatrics’ Jeremy Youett, this contest is specifically designed to showcase artists in the Grand Final who are just about tour-ready, with the talent and the concept to entertain an audience for an entire evening without the support of too many additional elements (also, too many props can get messy. Just saying). A team of industry experts will work with the winner to develop their show, but the essence of it must be apparent, and there must be a certain level of confidence and a connection between artist and audience. Cabaret ain’t easy! And that’s precisely why the good cabaret artists stand out. Think previous winners, Sheridan Harbridge, Bradley McCaw, Angela Harding and Gillian Cosgriff. Also, Craig McLachlan in the 40th Anniversary production of The Rocky Horror Show. Seriously. His performance is exceptional. And very cabaret. Once we see the work of artists of this calibre we understand that there are in fact, no rules in cabaret.

To those artists yet to perform in a heat, or in the Grand Final on Friday night (January 17) at The Basement in Sydney, CHOOKAS!

Brisbane Powerhouse, The Judith Wright Centre and QPAC offer Queensland artists the next opportunity to try their hand at the art form, in the Queensland Cabaret Festival. If you’re intending to enter, you’ve missed the December deadline, but you can make sure you’re there to see the line up!

International and Australian cabaret stars take to the stage from 6-15 June at Queensland Cabaret Festival – a new festival taking place across Brisbane Powerhouse, QPAC, Judith Wright Centre of Contemporary Arts, Queensland Conservatorium Griffith University, Arts Centre Gold Coast, Ipswich Civic Centre and in regional centres.

According to Queensland Cabaret Festival co-creative producers Kris Stewart and Alison St. Ledger the festival is set to bring Queenslanders the best of local and international cabaret.

Kris Stewart commented “Queensland Cabaret Festival builds upon the Brisbane Cabaret festival foundations and takes it to another level – there’ll be international and Australian performers covering the sequin-spangled heights of cabaret in all its forms.

“If you enjoy great music, dance, circus and burlesque, delivered with drama, humour and glamour then you’ll be right at home during Queensland Cabaret Festival.”

Alison St. Ledger said “We want artists that will shock, entertain and seduce an audience; no idea is too wild.”

XS Entertainment and Noosa Arts Theatre offer another opportunity in October, for performers on the Sunshine Coast (and beyond!) when we launch Keep Calm and Cabaret. Keep an eye out for more details and be prepared to submit your application before September via YouTube or USB.

In the meantime, aspiring cabaret performers can audition for Oscar Theatre Co’s boy&girl

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